Collection includes all studio albums and two compilations by English musical group Talk Talk. The group had a string of international hit singles including "Today", "Talk Talk", "It's My Life", "Such a Shame", "Dum Dum Girl", "Life's What You Make It" and "Living in Another World". In their later years the band's commercial appeal receded, but their critical reputation increased as they moved from synthpop to a more experimental form. Their final two albums, Spirit of Eden and Laughing Stock, were highly acclaimed and remain influential to experimental alternative rock genres, especially post-rock.

Instant Holograms On Metal Film is the first Stereolab album in 15 years, featuring 13 new studio recordings. Played by Laetitia Sadier, Tim Gane, Andy Ramsay, Joe Watson and Xavi Muñoz, with contributions from Cooper Crain and Rob Frye of Bitchin Bajas, Ben LaMar Gay (composer/jazz multi instrumentalist), Holger Zapf (Cavern of Anti Matter), Marie Merlet (Monade) and Molly Read among others. The groop will be playing live throughout 2025, with shows in Europe, North America, South America and the UK. The album follows Not Music released in 2010; remastered and expanded reissues of seven of their albums in 2019; and volumes 4 and 5 in the Switched On series appearing in 2021 and 2022 respectively.

Prog Presents: Discovering Stickman Records is a digital compilation introducing the label. Stickman Records is a long-running independent record label based in Hamburg, Germany. Founded in 1994 by Rolf and Jeannette Gustavus, the label originally focused on releasing and promoting records from the Norwegian band Motorpsycho, but quite quickly picked up steam as a vibrant and undefinable force in the European rock underground. In recent years, the label has honed in on psychedelic, progressive and stoner rock as its main genre touchstones, with longterm bands such as Elder (whose frontman Nicholas DiSalvo also works at the label), King Buffalo, Papir and Slomosa setting the pace for much of what trickles down to the rest of the scene. 30 years into its existence, Stickman remains an enigma in the indie landscape and its logo mark of exceptional quality.

In the early 90s, a number of bands exploring the daring side of guitar rock and pop started to emerge in the UK. Most were new, some included members of 80s groups looking for new directions. They were supported by established independent labels such as Rough Trade and 4AD/Guernica and new ventures like Too Pure or Domino. Influenced by the legacy of post-punk, minimalism, 70s art rock and a growing electronic scene, their first releases were enthusiastically received by the media. This included a 1994 article in The Wire where journalist Simon Reynolds used the term “post-rock” to refer to some of them: Bark Psychosis, Disco Inferno, Moonshake, Seefeel, Main, Pram, Insides…

Young Team, Mogwai's first full-length album fulfills the promise of their early singles and EPs, offering a complex, intertwining set of crawling instrumentals, shimmering soundscapes, and shards of noise. Picking up where Ten Rapid left off, Mogwai use the sheer length of an album to their advantage, recording a series of songs that meld together – it's easy to forget where one song begins and the other ends. The record itself takes its time to begin, as the sound of chiming processed guitars and murmured sampled vocals floats to the surface. Throughout the album, the sound of the band keeps shifting, and it's not just through explosions of noise – Mogwai isn't merely jamming, they have a planned vision, subtly texturing their music with small, telling details. When the epic "Mogwai Fears Satan" draws the album to a close, it becomes clear that the band has expanded the horizons of post-rock, creating a record of sonic invention and emotional force that sounds unlike anything their guitar-based contemporaries have created.

Broadcast were an English rock band formed in Birmingham in 1995 by Trish Keenan (vocals, keyboards, guitar) and James Cargill (bass). Their musical style blended elements of 1960s American psychedelia with experimental electronica, incorporating samples from various sources, and earned the band a cult following. Collection includes: Work And Non Work (1997); The Noise Made By People (2000); Haha Sound (2003); Tender Buttons (2005); The Future Crayon (2006); Investigate Witch Cults Of The Radio Age (2009).

The arrival of a new Mogwai album – their eleventh – is cause for great celebration. The album’s title, The Bad Fire, is a working-class Glaswegian term for Hell. It reflects the difficult time that members of the band were going through. New to the studio was American producer John Congleton, known for his work with Explosions In The Sky, Sigur Rós, John Grant and pretty much everyone in between. Congleton’s work can be heard on the album’s three singles. The album opener “God Gets You Back” sounds like Daft Punk being hunted by My Bloody Valentine, while “Fanzine Made Of Flesh” sounds like a victory parade for a baby yeti; and “Lion Rumpus” does actually sound like a lion rumpus. The music of Mogwai is a difficult thing to describe, but an easy thing to experience. At punishing volume, it can annihilate your body, leaving you as little more than a head which should by rights fall helplessly to the ground. Yet the music contains an updraft, a sense of beauty encased in the onslaught. This holds you up, suspended and empowered, reminding you that paradise is your birthright. This is especially true of The Bad Fire. It may have been created in dark conditions, but all that is transcended by the act of four musicians working together here, now, in the moment – the only place where Mogwai exist.

It's an archetypal story of the modern record business two guys with a dream running their nascent label out of a West Hollywood garage in the summer of 1962. The label quickly gains momentum and eventually becomes one of the most important record companies the world has ever seen. The two guys were Herb Alpert and Jerry Moss, the A and the M in A&M Records. By the way, it was Alpert s garage and that first hit was The Lonely Bull, performed by Herb Alpert & the Tijuana Brass. And this year the two record men and UMe are celebrating the 50th Anniversary of their label. As part of the celebration, UMe is releasing A&M 50: THE ANNIVERSARY COLLECTION. A 60-track, 3-CD set curated by Alpert & Moss, THE ANNIVERSARY COLLECTION perfectly illustrates what a potent effect the legendary label is still having on contemporary popular music. We wanted to make good records, says Herb Alpert, reflecting on the label s genesis. That was our goal. We felt if we made good records there would be an audience. Herb and Jerry s dedication to development resulted in some of the biggest superstars in music ever: Joe Cocker, Procol Harum, Quincy Jones, Billy Preston, Cat Stevens, Carpenters, Peter Frampton, Supertramp, Jeffrey Osborne, Styx, Bryan Adams, Joe Jackson, the Police, Sting, Janet Jackson, Suzanne Vega, Sheryl Crow, Soundgarden, and so many more.

A Phoenix Like This (2006) is an album by Lowbelly, an indie rock band that blends elements of alternative rock, post-grunge, and indie folk. The album explores themes of personal transformation, introspection, and emotional healing, with a sound that combines atmospheric arrangements with raw, emotive performances. Lowbelly's music is characterized by its mix of quiet, introspective moments and bursts of energy, creating an album that is both reflective and cathartic.

The fourth step in our Renaldo re-issue programme and this time we have a very special item for you: Title In Limbo is an album that was recorded with The Residents in San Francisco in 1981.The bands played a very experimental jam session together and went back to these recordings 2 years later, in 1983. Title In Limbo finally came out in November of that year on vinyl. 1998 saw the first complete CD release as a numbered limited edition on Ralph America, copies of which are scarce and now collectors’ items. But that CD differed from the vinyl in that some tracks had short fade ups applied to them which did not truly reflect the original release. So we are excited for the first time on CD to now offer this album re-mastered with all tracks fully restored to their originally recorded states. Also included is a booklet with rare photographs and of course the lyrics for all the songs. In this case, all Klanggalerie can say to you is: Buy or die.

Originally recorded by Steve Albini and released in 1989, tweez has been remastered by Bob Weston at Chicago Mastering Service from the original analog master tapes. "Slint formed in 1986 as an outlet and pastime for four friends from Louisville, Kentucky. Their music was strange, wholly their own, sparse and tight. What immediately set them apart was their economy and precision. Slint were that rare band willing to play just one or two notes at a time and sometimes nothing at all… 1989’s “Tweez” LP hints at their genius…" - Steve Albini (Melody Maker, 1991). About the tweethan mix: Per Ethan Buckler (Slint bassist on tweez), “Finally - after thirty-five long years - the other guys in Slint decided to be nice to me and let me have my Tweez remix. I complained incessantly back in the day about how the Albini production style ruined our first recording.” In 2023, Ethan took the original multi-track recordings to a local studio in Louisville. Upon handing the engineer a copy of a pre-tweez Slint practice tape, he said “Make it sound like this.” This tweethan mix album is the result. Mastered by Bob Weston at Chicago Mastering Service.

2010 release, the 12th album in an infamous career, Not Music is part of Tim Gane's 2007 science experiment involving improvised chord sequences played on piano or vibraphone, over top of which were placed little drum loops. This was a new way of writing and it yielded a bumper crop of compositions, nearly 70 of which were boiled down into 32 new songs, 14 of which were cherry-picked to form Chemical Chords.

Rave Tapes is the eighth studio album by Mogwai. With Rave Tapes, Mogwai's mastery of sound and space is firmly at its apex. The album is a lustrous collection mined from the same quarry as its predecessors, wreathed in painterly textures underpinned by increasingly electronic beats. Mogwai wrote and recorded Rave Tapes at the band's Castle Of Doom studio in Glasgow, Scotland, with Paul Savage, who also worked on their 2011 album, Hardcore Will Never Die, But You Will. Japanese edition includes two bonus tracks.

Limited two CD edition including a bonus disc that contains the 23-minute track, "The Singing Mountain" (physical exclusive). 2011 release, the seventh album from the Scottish Post-Rockers. Mogwai was birthed in the halcyon days of the mid-'90s and helped Glasgow become one of the real bright spots in the musical universe again. Not everyone gets Mogwai, but that's what makes them great. Theirs is a majestic, powerful sound where barely a word is spoken yet it is the antithesis of background music. Album and song titles bemuse, confuse and delight in equal measure and live, they are utterly unstoppable. Recorded at Chem 19 studios with producer Paul Savage (who recorded Young Team).

Come On Die Young (also known as CODY), is the second full-length studio album by the Scottish post-rock band Mogwai, released on 29 March 1999 by Chemikal Underground. Songs for Come On Die Young were written by the band members at home or together in the rehearsal room. Wanting a sparser sound, Mogwai drew influences from Seventeen Seconds by The Cure and Spiderland by Slint as well as Low, Nick Drake and The For Carnation. The songs "Christmas Steps" and "Ex-Cowboy" had been played live by the band during the tour for Mogwai Young Team. The album was recorded in three weeks at Tarbox Road Studios in Cassadaga, New York with producer Dave Fridmann and was the first Mogwai recording to feature multi-instrumentalist Barry Burns.